paul secor

I'm sure that Scratch at less than his best is still better than most.

Larry - You evidently have more patience/tolerance for b.s./time to waste than I do.

Introducing Carl Perkins (Dootone/Boplicity)

The Mississippi Sheiks: Stop and Listen (Mamlish)

Wow ask a simple question if anybody has any info on these re-releases (because I saw no info anywhere) and what do I get? A bunch of dick heads telling me to show myself. You guys are a classy bunch! A classy bunch of jazz snobs. I guess if I have a question I won't ask here for fear of some ass jumping down my throat. Stick around. If you have good things to say or good questions to ask, you'll be accepted here.

The Curtis Counce Group Vol. 1 - Landslide

Wasn't this thread supposed to be about George Cables, and wishing him a full recovery? You would think that something as simple as that could happen here without religion/semantics/whatever taking over.

Dexter Gordon: Dexter Blows Hot and Cool (Dootone/Boplicity)

Koch has issued a box with 2 CDs of Von Freeman's Premonition recordings (unreleased material included) plus a DVD of video material - http://www.cduniverse.com/productinfo.asp?...87742&BAB=M.

Any thoughts on Jarman/Braxton: Together/Alone; Jarman/Moye: Calypso's Smile; Bright Moments - Return of the Lost Tribe (Delmark)?

Xanadu evidently also had a deal with EPM in France. I have Bud Powell: Shaw Nuff and Dexter Gordon/Al Cohn: True Blue on EPM. Plus, Charlie Parker/Clifford Brown/Phil Woods: International Jam Sessions was released as a Xanadu CD with the add on of Artistic Music Distribution.

Query: How many times can we sell the same stuff? Answer: As many times as the suckers will buy it. It's cheaper and easier to market than newly recorded music is.

My point was just that the U.S. popular music scene was not a wasteland - as is often described - during the early 1960's, and that the British groups - many of whom covered U.S. r&b and blues records - were not saviors in any sense. And if the British bands "honed their skills for years in nightclubs, the honing sure didn't do most of them much good - at least IMO. And to answer your last sentence - people like Bobby Vee, Frankie Avalon, Jimmy Clanton, Bobby Rydell, Connie Francis, Chubby Checker, and even Fabian were by no means one-hit wonders - even if their records were pap. U.S. record companies knew how to take care of their money makers - at least until the next big thing came along.

Not to get into a big thing, Alexander. It's true that Capitol didn't foresee what was going to happen. But once it did happen, Capitol - and a lot of other U.S. record companies - jumped on the wagon big time. The "British invasion" was launched, British groups got major airplay - regardless of their talent - and a lot of record companies made big $. I was around then, and I heard and saw what went on.

Are we going to pretend that "Rock and Roll" is this..."pure art form" that's about music first and sociology second (if at all)? C'mon.... It seems that you're saying that Frankie Avalon, to give one example, should be in the R&R HoF. Given what the R&R HoF is, I agree entirely.

The Dave Clark Five was about the only signficant band of that era to emerge from North London. When I heard their first records, boy, was I glad I lived in West London! We had Cliff Bennett & the Rebel Rousers, Screaming Lord Sutch & the Savages, Chris Farlowe & the Thunderbirds, Manfred Mann (then known as the Mann-Hugg Blues Menn), The Yardbirds, the Rolling Stones as our local bands, plus a weekly visit from Alexis Korner's Blues Incorporated. DC5 stunk. However, you're right about the importance of the British invasion. Apart from R&B artists, and the early surf bands like the Ventures, Beach Boys and Dick Dale & the Deltones, there really wasn't much going on in the US. Well, there were all those teen idols like Fabian, Frankie Avalon, Ricky Nelson, Bobby Rydell etc etc and their female equivlents, some of whom were at least as good looking as the teen idols (Ann-Margaret, Shelley Fabares). What was a bit of a surprise was that some of them, like Lou Christie, didn't get swept away; there must be a deep-seated need among young Americans for good looking boy singers. (All the British teen idols did get swept away, though John Leyton managed a decent career in the films.) MG I never bought into the party line of the British invasion "saving" the American popular music scene. Yeah, the teen idol thing had taken over the white rock & roll scene, but white artists had never been a major force in rock & roll even before that. I'm talking about creating good music, not selling records. The 50s had some good rockabilly cats, a few good white doo-wop groups, and Link Wray - someone far more important than Dick Dale and the Ventures - but they'd been disappeared from the scene by the 1960s. The Everly Brothers had run out of steam by 1963 - the voices were still great, but the hit records had stopped. Roy Orbison - sorry, Clem - was still doing it when the British invasion hit. (To me, Elvis was in some kind of nowhere land, and he never found his way out of that nowhere land.) "Apart from R&B artists" - that's a pretty big Apart. People like Gary U.S. Bonds, Arthur Alexander, Sam Cooke, Hank Ballard & the Midnighters, Jackie Wilson, The Drifters, Lee Dorsey, Booker T & the MGs, The Miracles, The Contours, and let's not forget Ray Charles, were all making records that hit the top 40/30/20/10 charts in the early 60s - and were making great records that still sound great today. The whole soul thing was taking shape around that time. James Brown had been making music that the white audience hadn't (or had rarely) heard, Otis was just starting to come into his own at Stax, Wilson Pickett - first with The Falcons and then on his own - was just breaking loose. All of this occurred before the British invasion, and I'll put up any of this music against any British invasion music. The British invasion was a marketing ploy to sell records to white kids - nothing more nothing less - at least IMO. I'm sure that others will disagree - and I'll admit to a liking for some of Dusty Springfield's and Ray Davies' recordings - but in general, the whole British invasion - the fact that it was given a name like that says something - was just a ploy.

Jackie McLean 1964-1966 - The Consequence session

If anything it's a plus. IMO it's a plus that it's not The Sidewinder. Moanin' is a whole other deal.

Henry Thomas: "Ragtime Texas" (Herwin)

Amen. Who cares about the R&R HoF?

Coltrane (Prestige)

This may be an internet listing for the concert you attended - http://www.soundnet.org/sound/mak/2003/september.shtml

Interesting interview with Joseph Jarman - http://www.furious.com/Perfect/jarman.html

Bill Harris and Friends (Fantasy/OJC)

In the past couple of days I've listened to Joseph Jarman on two recordings: one under his own name - Earth Passage/Density, and another under the leadership of Joel Futterman - Vision in Time. I enjoyed his playing on both of these, but I feel that I don't have a true sense of Joseph Jarman's music. Listening to the Art Ensemble over the years, I've had the sense that he is the most self effacing member of that group. John Litweiler, in his book, The Freedom Principle, writes: "I'm afraid that until he [Joseph Jarman] is more frequently documented on his own, away from the Art Ensemble, he will remain one of our unacknowledged legislators." I'm not sure that that documentation has occured. Perhaps it has, and I'm not aware of it. I'd be grateful for any advice as to solo recordings, individual solos, or something that I might be missing in my listening, that might help me find my way into Joseph Jarman's music. Organissimo threads tend to go where they may, and I hope that this one will do that also. I would have placed this in recommendations, but I don't believe that there has been a thread devoted to Joseph Jarman, so I hope that this will be a place for appreciations, stories, recommendations - whatever folks have to say about him and his music.